Search results for: protagonists

Authors: Natalia Fontes De Oliveira

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The Canadian author Margaret Atwood deconstructs the tainted dichotomies between women and men by embracing the disorder throughout her dystopias. In Atwood’s The Testaments, nature can be seen as a background to the story as well as a metaphorical expression of the characters’ state of mind, nevertheless, the protagonists’ nature writing portrays conveys a curiosity to the pre-established sanctions of a docile garden, viewing nature as an autonomous entity, especially when they are away from the confinements of Gilead’s regime. The three narrating protagonists, Agnes, Aunt Lydia, and Nicole, use nature writing subversively as a form of rebellion. This paper investigates how the three protagonists narrate nature through an intimist point of view, with sensibility to observe the multiple relationships among humanity, nature, and the impositions of a theocratic ultra conservative patriarchal society.

Keywords: contemporary literature, dystopias, feminism, women’s writing

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Authors: Shih-Chieh Liao, Jen-Ying Ma

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Dual protagonists game always bring a unique experience compared to the other games. This research wants to discuss whether the dual protagonists have the moving ability and special ability or not; it will affect the preference of the players. This research will focus on the single-player dual protagonists game. After the observation, we found that when players control the dual protagonists, the moving ability and special ability are a great point defining the preference of players. When players control the character, which is lack of moving ability, they often feel impatient with the inconvenient mechanism and then reduce the will to play with the character or even the game. Furthermore, the special ability is also important in the situation that there is another character to compare with. When the character is too powerful, players tend not to use the weaker one. In addition, gender is a big deal in the games. It surprisingly controls the will of play occasionally. In view of these, this research makes a single-player dual protagonists game and the dual protagonists are limited to male and female. The experiment content detected with Electrodermal Activity (EDA) includes seven different situations. (1) male and females both have the moving ability and special ability. (2) male and female both have a special ability, but female does not have the moving ability. (3) male and females both have a special ability, but the male does not have the moving ability. (4) male and female both have the moving ability, but the male does not have special ability (5) male and female both have the moving ability, but female does not have a special ability (6) male-only has the moving ability and female-only has a special ability (7) male-only has a special ability and female only has the moving ability. The experiment will evaluate the emotional changes of the subjects in those situations. The result sorted by the significance of player preference is (6)>(4)>(1)>(2)>(5)>(3)>(7). The result demonstrates that players prefer females with special abilities or males with moving abilities. The game developer could design the ability of dual protagonists based on this research. Therefore, players may have a better experience.

Keywords: biofeedback, dual protagonists, emotional responses, psychology, user experience

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Authors: Montri Meenium

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The purpose of this research was to examine youths’ analysis and evaluation of three protagonists, one female and two males involved in sexual relationship in the stage play “Kaki” held by the Faculty of Liberal Arts, Prince of Songkla University. The interviews were conducted with 10 youths in the production team and 10 audience youths, totalling 20. The findings, which were presented in the form of a descriptive analysis, showed that all the 10 youths in the production team and the 10 audience youths did not accept the behaviour of the protagonists: the female who committed adultery and the males who were corrupted by power, had sexual relationship with a married woman and deceived people. The youths, however, knew that such behaviour resulted from being overpowered by human passion, especially infatuation, which was in accordance with the theme of the play. It was suggested that the story twines ideology or points of view that defy moral and ethics, prompting questions to be asked. Hence, the stage play can be used as an instrument to develop critical thinking in youths.

Keywords: descriptive analysis, protagonists, youths, stage-play

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Authors: Saman R. Khan, Najma Sadiq

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Silencing of opinions is an important aspect of Spiral of Silence theory however its applicability in rape-themed dramas requires investigation. This study focuses on the portrayal of female rape victim protagonists in Pakistani dramas and the factors influencing their behavior after rape. A quantitative content analysis was conducted on two prime-time dramas which directly dealt with female rape victims. Results indicate that the female protagonists who faced rape are shown as silent and submissive characters who are unable to communicate about their ordeal due to fear of social isolation. These findings lend support to the Spiral of Silence theory and indicate that the theory’s basic elements (inability to express opinions and fear of social isolation) exist in these TV dramas.

Keywords: gender stereotyping, rape victims, the spiral of silence, TV dramas

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Authors: Ahmed Mohammed Ghaleb, Ehab Saleh Alnuzaili

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This paper attempts to generally examine Tawfiq Al-Hakim's Song of Death (1950) and John Millington Synge's Riders to the Sea (1904) by comparatively bringing the two plays under focus. Strikingly, the similarities between the two plays appear in the plot, picturization of the characters, tragic intensity, structural perfection, and the economy of language. Plot structure, albeit a simple one in both plays, is enriched by the playwrights' effective use of language, symbols, imagery, and tragic irony. Neither of the two plays has the traditional five-act structure; they are one-act plays. From a feminist point of view, the domination of female characters is observed in both plays. The female protagonists are the main focus of the two plays. Their brave characters and struggle are highly depicted. While Al-Hakim's protagonist is presented as a victim of tribal customs, Synge's protagonist is shown as a victim of nature. Both plays can be described as 'feminine tragedies' using the words of Oona Frwaley. Although the two plays appeared in totally different historical periods of time, both share considerable similarities, thematic as well as linguistic, which result in a concern to investigate them. The paper, basically, aims at asserting the commonalities between human beings and creating awareness of intercultural negotiations and connections. It attempts to bridge the cultural, intellectual, and social gap between Arab and Irish drama by exploring the common elements of the two plays. Thus, the paper presents a critical and comparative study of both plays highlighting the portrayal of the female protagonists.

Keywords: economy of language, imagery, protagonist, symbols, tragic intensity, tragic irony

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Authors: Kamilya Khamitova

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This study analyzes the overarching theme of obsession as portrayed through the two protagonists, Humbert Humbert and Kemal, in Vladimir Nabokov's Lolita and Orhan Pamuk's The Museum of Innocence through the lens of Freudian psychoanalytical theory of “transference.” Their obsessions are channeled into various forms of artistic expression following the loss of their beloved Lolita and Füsun. Employing psychoanalytical literary criticism, firmly grounded in the classical era of psychoanalysis, as pioneered by Sigmund Freud, this research explores the characters' psyches, revealing the concealed desires, conflicts, and symbolic manifestations within their relentless obsessions. The aim of this study is to unravel the psychological complexities of obsession, shedding light on the motivations and behaviors of Humbert and Kemal within the context of their respective narratives. Methodologically, this research employs close textual analysis of the novels, dissecting the protagonists' thoughts, actions, and artistic expressions. Through the lens of Freud's fundamental concept of “transference,” this analysis uncovers the protagonists' mechanisms of projecting their desires onto unattainable objects of desire—Lolita and Füsun. Humbert's pursuit of Lolita mirrors his unresolved emotional traumas and attempts to recapture the lost object of his childhood. In contrast, Kemal's fixation on Füsun is a desperate desire to fill an existential void, address a sense of inadequacy, and construct a semblance of immortality through the meticulous preservation of his memories with her. By adopting a psychoanalytic lens, this research provides a richer understanding of the characters, themes, and symbolism inherent in their artistic expressions of devotion.

Keywords: artistic expression, psychoanalysis of obsession, Sigmund Freud, transference

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Authors: Jeong Hwa Ryong

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Numerous characters appear in the works of England’s most prominent play writer, William Shakespeare. Most of the time, his male protagonists possess various and complex characteristics throughout the storyline of his work, making it interesting for the readers to analyze their actions in many different aspects. However, some critics argue that unlike male characters, Shakespeare’s female characters are rather more flat and one-sided, pointing out that they are either the extreme version of good or evil. Especially, it is a significant topic to discuss in the modern days, considering the fact that gender stereotype is now a sensitive issue. Starting from such argument, it is important to address their purpose of being in the play and suggest their meaning to the modern readers of today. In this context, this paper analyzes several female characters of Shakespeare’s work by closely examining their actions and lines. The characters analyzed are Ophelia from Hamlet, Cordelia from King Lear, Katherine from The Taming of the Shrew, Goneril from King Lear and Lady Macbeth from Macbeth. Nevertheless, some female protagonists of Shakespeare’s work do not fall in to this category and exceed the limitations of others. Therefore this paper proposes alternative characters such as Juliet from Romeo and Juliet and Portia from The Merchant of Venice that are rather more complex and difficult to include in just one category. By doing so, this paper critically analyzes the strengths and weaknesses of many female characters in Shakespeare’s play.

Keywords: female characters, gender stereotype, William Shakespeare

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Authors: Vidhya R

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The claim of feminists that women are made and not born is neither to set women on par with men nor to discriminate one from the other, but to establish and reiterate the fact that both the sexes have to understand, recognize and appreciate each other’s ability and responsibility thus to contribute to the peaceful co-existence of both, leading to the creation of a better and brave new world, which is neither patriarchal nor matriarchal. But history has repeatedly recorded the relegation of women to the secondary position consummated through the highly biased cultural, ritualistic and customary practices across the globe. In Africa, bracing herself against many odds through generations, the African woman who has been facing multiple jeopardy promulgated by racial, cultural, economic and gender discrimination has slowly started moving from the margins towards the center. The African woman was able to undertake the journey from the margins to the center bravely only because of her grit, grace, courage, confidence, and spirituality. This journey has resulted in the metamorphosis of the African woman’s psyche. Economic independence fortified with education has empowered the African woman. The various stages of metamorphosis are well delineated in the works of the contemporary Nigerian writer Chimamanda Ngozi Adichie. The objective of this research paper is to study the above said metamorphosis, the female protagonists undergo in Adichie’s novels. The approaches on which the study is based on are the Africana Womanist theory propounded by Clenora Hudson –Weems and African feminism of Carole Boyce Davies. The findings of this study lead towards establishing the proposition that the emergence and evolution of the Nigerian woman has resulted in the birth of a new breed of women – the Emphatic Female, manifested in the power packed portrayal of the female protagonists of Purple Hibiscus, Half of a Yellow Sun and Americanah by Chimamanda Ngozi Adichie.

Keywords: Africana womanism, African feminism, chimamanda ngozi adichie, metamorphosis, the emphatic female

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Authors: Nana Katsia

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This paper explores the ways both medieval and medievalist conceptions of ugliness might be linked to the physical and spiritual transformation of the protagonists and how it is realised through specific musical rhythm, such as the dochmiac rhythm in the opera. As Eco and Henderson note, only one kind of ugliness could be represented in conformity with nature in the Middle Ages without destroying all aesthetic pleasure and, in turn, artistic beauty: namely, a form of ugliness which arouses disgust. Moreover, Eco explores the fact that the enemies of Christ who condemn, martyr, and crucify him are represented as wicked inside. In turn, the representation of inner wickedness and hostility toward God brings with it outward ugliness, coarseness, barbarity, and rage. Ultimately these result in the deformation of the figure. In all these regards, the non-beautiful is represented here as a necessary phase, which is not the case with classical (the ancient Greek) concepts of Beauty. As we can see, the understanding of disfigurement and ugliness in the Middle Ages was both varied and complex. In the Middle Ages, the disfigurement caused by leprosy (and other skin and bodily conditions) was interpreted, in a somewhat contradictory manner, as both a curse and a gift from God. Some saints’ lives even have the saint appealing to be inflicted with the disease as part of their mission toward true humility. We shall explore that this ‘different concept’ of ugliness (non-classical beauty) might be represented in Messiaen’s opera. According to Messiaen, the Leper and Saint François are the principal characters of the third scene, as both of them will be transformed, and a double miracle will take place in the process. Messiaen mirrors the idea of the true humility of Saint’s life and positions Le Baiser au Lépreux as the culmination of the first act. The Leper’s character represents his physical and spiritual disfigurement, which are healed after the miracle. So, the scene can be viewed as an encounter between beauty and ugliness, and that much of it is spent in a study of ugliness. Dochmiac rhythm is one of the most important compositional elements in the opera. It plays a crucial role in the process of creating a dramatic musical narrative and structure in the composition. As such, we shall explore how Messiaen represents the medieval idea of ugliness in the opera through particular musical elements linked to the main protagonists’ spiritual or physical ugliness; why Messiaen makes reference to dochmiac rhythm, and how they create the musical and dramatic context in the opera for the medieval aesthetic category of ugliness.

Keywords: ugliness in music, medieval time, saint françois d’assise, messiaen

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Authors: Isahakyan Heghine

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Intertextuality, being in the centre of attention of both linguists and literary critics, is vividly expressed in the outstanding British novelist and philosopher J. Fowles' works. 'The Magus’ is a deep psychological and philosophical novel with vivid intertextual links with the Greek mythology and authors from different epochs. The aim of the paper is to show how intertextuality might serve as a dialogue between two authors (J. Fowles and J. Donne) disguised in the dialogue of two protagonists of the novel : Conchis and Nicholas. Contrastive viewpoints concerning man's isolation, loneliness are stated in the dialogue. Due to the conceptual analysis of the text it becomes possible both to decode the conceptual information of the text and find out its intertextual links.

Keywords: dialogue, conceptual analysis, isolation, intertextuality

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Authors: Natalia Fontes De Oliveira

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Nature and women have a long age association that has persisted throughout history, cultures, literature, and arts. Women’s physiological functions of reproduction and childbearing are viewed as closer to nature as a binary opposition to men, who have metaphorically and historically been associated with culture. To liberate from strictures of phallogocentric rhetoric, a radical critique of the categories of nature and culture must be undertaken. This paper proposes that nature writing in Margaret Atwood’s The Testaments is used subversively as a form of rebellion to disrupt the metaphorical relationship between women and nature. In tune with ecofeminist concerns, the imagery rewrites patriarchal paradigms of binary oppositions as the protagonists narrate a complex and plural relationship between nature and women.

Keywords: ecofeminism, Margaret Atwood, nature writing, women's writing

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Authors: Johan Anker

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The purpose of this paper is to discuss the nature of gender construction in modern dystopian fiction, the development of this genre in Young Adult Literature and reasons for the enormous appeal on the adolescent readers. A recent award winning South African text in this genre, The Mark by Edith Bullring (2014), will be used as example while also comparing this text to international bestsellers like Divergent (Roth:2011), The Hunger Games (Collins:2008) and others. Theoretical insights from critics and academics in the field of children’s literature, like Ames, Coats, Bradford, Booker, Basu, Green-Barteet, Hintz, McAlear, McCallum, Moylan, Ostry, Ryan, Stephens and Westerfield will be referred to and their insights used as part of the analysis of The Mark. The role of relevant and recurring themes in this genre, like global concerns, environmental destruction, liberty, self-determination, social and political critique, surveillance and repression by the state or other institutions will also be referred to. The paper will shortly refer to the history and emergence of dystopian literature as genre in adult and young adult literature as part of the long tradition since the publishing of Orwell’s 1984 and Huxley’s Brave New World. Different factors appeal to adolescent readers in the modern versions of this hybrid genre for young adults: teenage protagonists who are questioning the underlying values of a flawed society like an inhuman or tyrannical government, a growing understanding of the society around them, feelings of isolation and the dynamic of relationships. This unease leads to a growing sense of the potential to act against society (rebellion), and of their role as agents in a larger community and independent decision-making abilities. This awareness also leads to a growing sense of self (identity and agency) and the development of romantic relationships. The specific modern tendency of a female protagonist as leader in the rebellion against state and state apparatus, who gains in agency and independence in this rebellion, an important part of the identification with and construction of gender, while being part of the traditional coming-of-age young adult novel will be emphasized. A comparison between the traditional themes, structures and plots of young adult literature (YAL) with adult dystopian literature and those of recent dystopian YAL will be made while the hybrid nature of this genre and the 'sense of unease' but also of hope, as an essential part of youth literature, in the closure to these novels will be discussed. Important questions about the role of the didactic nature of these texts and the political issues and the importance of the formation of agency and identity for the young adult reader, as well as identification with the protagonists in this genre, are also part of this discussion of The Mark and other YAL novels.

Keywords: agency, dystopian literature, gender construction, young adult literature

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Authors: Silvania M. P. Silva, Ricardo A. Mazaro, Gemilde M. Queiroz, Josefa Barbosa, Lucas S. Victorino, Grasiela J. Silva

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The Minas Gerais sweets have a remarkable personality, perceived on the original usage of fruits, sweets, and cheeses in the Brazilian gastronomic landscape, as a unique representation of Minas Gerais. This memory-related and feeling-oriented food is one of the treasures common to all Brazilians. It is mandatory to mention its Portuguese roots for the use of honey, as well as sugar cane and its countless possibilities. This work will show that this heritage is predominantly Portuguese, born in Portuguese convents and that it crossed the Atlantic. Through a historical survey, visits to mining towns known for their sweet culture and material collected in these places, we present the protagonists of this journey of flavors: the Portuguese cake makers (boleiras), who brought the knowledge, ingredients, and the dream of a better life in the crowded mines of gold and opportunities, helping to form a new Minas Gerais knowledge with their delicacies.

Keywords: sweets from portugal, convent sweets, minas gerais, brazil

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Authors: Fatiha Kaïd Berrahal, Nassima Kaïd, Djihad Affaf Selt

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The present paper is a comparative analysis of the Algerian writer Assia Djebar’s women of Algiers in Their Apartment (1982) and the Anglo-Egyptian Ahdaf Soueif’s The Map of Love (1999) foregrounded on the female protagonists’ painfully common colonial and patriarchal experiences, though in different geographical regions of North Africa. This study raises questions pertaining, first, to the emerging contemporary genre “Historiographic meta-fiction” in which the novels examined could be inscribed, then, the interplay of colonial history and personal memory that impinges on the development of the identity of the post-colonial female subject. As the novels alternate between the historical and the autobiographical, we currently seek to understand how it is pertinent and pressing for women to excavate the lost and occluded stories of the past for the adjustment of their present personal identities, which are undoubtedly an important part of the identity of a nation.

Keywords: postcolonial feminism, islamic feminism, memory, histoirographic metafiction

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Authors: Annette Louise Dupont

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Background and Introduction: Broadly defined, hybridity is a condition of racial and cultural ‘cross-pollination’ which arises as a result of contact between colonized and colonizer. It remains a highly contested concept in postcolonial studies as it is implicitly underpinned by colonial notions of ‘racial purity.’ While some postcolonial scholars argue that individuals exercise significant agency in the construction of their hybrid subjectivities, others underscore associated experiences of exclusion, marginalization, and alienation. Kuwait and the Philippines are among the most disparate of contemporary postcolonial states. While oil resources transformed the former British Mandate of Kuwait into one of the world’s richest countries, enduring poverty in the former US colony of the Philippines drives a global diaspora which produces multiple Filipino hybridities. Although more Filipinos work in the Arabian Gulf than in any other region of the world, scholarly and literary accounts of their experiences of hybridization in this region are relatively scarce when compared to those set in North America, Australia, Asia, and Europe. Study Aims and Significance: This paper aims to address this existing lacuna by investigating hybridity and other postcolonial themes in a novel by a Kuwaiti author which vividly portrays the lives of immigrants and citizens in Kuwait and which gives a rare voice and insight into the struggles of an Arab-Filipino and European-Filipina. Specifically, this paper explores the relationships between colonial discourses of ‘black’ and ‘white’ and postcolonial discourses pertaining to ‘brown’ Filipinos and ‘brown’ Arabs, in order to assess their impacts on the protagonists’ hybrid subjectivities. Methodology: Foucault’s notions of discourse not only provide a conceptual basis for analyzing the colonial ideology of Orientalism, but his theories related to the social exclusion of the ‘mad’ also elucidate the mechanisms by which power can operate to marginalize, alienate and subjectify the Other, therefore a Foucauldian lens is applied to the analysis of postcolonial themes and hybrid subjectivities portrayed in the novel. Findings: The study finds that Kuwaiti and Filipino discursive practices mirror those of former white colonialists and colonized black laborers and that these discursive practices combine with a former British colonial system of foreign labor sponsorship to create a form of governmentality in Kuwait which is based on exclusion and control. The novel’s rich social description and the reflections of the key protagonist and narrator suggest that such fiction has a significant role to play in highlighting the historical and cultural specificities of experiences of postcolonial hybridity in under-researched geographic, economic, social, and political settings. Whereas hybridity can appear abstract in scholarly accounts, the significance of literary accounts in which the lived experiences of hybrid protagonists are anchored to specific historical periods, places and discourses, is that contextual particularities are neither obscured nor dehistoricized. Conclusions: The application of Foucauldian theorizations of discourse, disciplinary, and biopower to the analysis of this Kuwaiti literary text serves to extend an understanding of the effects of contextually-specific discourses on hybrid Filipino subjectivities, as well as a knowledge of prevailing social dynamics in a little-researched postcolonial Arabian Gulf state.

Keywords: Filipino, Foucault, hybridity, Kuwait

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Authors: Iti Roychowdhury

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India to the Colonial mind was a crazy quilt of multicoloured patchwork- a land of untold wealth and bejewelled maharajas, of snake charmers and tight rope walkers. India was also the land that offered unparalled game. Indeed Shikar (hunting) was de rigueur for the Raj experience. Tales of shootings and trophies were told and retold in clubs and in company. Foremost among the writers of this genre is Jim Corbett – tracker, hunter, writer, conservationist. Corbett is best known for the killing of man eating tigers and his best known books are Man eaters of Kumaon, The Temple Tiger, Man eating Leopard of Rudraprayag etc. The stories of Jim Corbett are stories of hunting, with no palpable design, no subtext of hegemony, or white man’s burden. The protagonists are the cats. Nevertheless from his writings emerge a vibrant picture of Indian villages, of men, women and children toiling for a livelihood under the constant shadow of the man eaters. Corbett shared a symbiotic relationship with the villagers. They needed him to kill the predators while Corbett needed the support of the locals as drum beaters, coolies and runners to accomplish his tasks. The aim of the present paper is to study the image of Indians in the writings of Jim Corbett and to examine them in the light of colonial perception of Indians.

Keywords: hegemony, orientalism, Shikar literature, White Man's Burden

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Authors: Laurence Doremus

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Freud as the builder of psychoanalysis as a discipline had created the science with Carl Gustav Jung (1875-1961), a psychiatry specialist from Zurich who was very important in the Freudian theory. The knowledge about the foundation of psychoanalysis is often focused on the influence of the works from Breuer or Charcot in the Freudian praxis, at least at the beginning of his career, and Jung's influence is often under-estimated. The paper focuses on the importance of the Jungian contributions in Freud's theories at the beginning of the creation of the discipline in the 1910s. We often meet Jungian schools on the first hand and Freudian schools, on the other hand in the academic field, but the Freudian field has to admit the importance of the Jungian theories in Freudian science. And also, the dialectical energy which appears in the letters exchanged between both of the fathers of psychoanalysis is important to understand the foundations of Freud Theory. That's why the paper will analyze in detail the correspondence between them in an epistemological and historical approach. Effectively the letters were translated and published (in French but also in English and other languages) lately in history and are still not well knew by the researchers in the psychoanalytical field. We well explain how Freud was helped by Jung despite his desire to build the theory. We analyze how the second topic named 'unconscious, preconscious, and conscious', is the result of the first topic that Jung built with Freud. The paper is a contribution to the knowledge we should have about the intense friendship between the two protagonists.

Keywords: Carl Gustav Jung, correspondence, Freud's letters, psychoanalytic theory

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Authors: Emma H. Zhang

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In Women Who Fly (2018), Serinity Young connects tales and legends of flying women in Greco-Roman, Indo-European, Mesopotamian, and Asian cultures with ancient matriarchal bird goddesses and argues that tales of flying women are reminiscent of the rituals and rites related to the worship of goddesses in pre-patriarchal times and that flying women, including swan maidens, harpies, fairies, and witches are “abnormal women” because they reject patriarchal order, defy, and desert their domestic roles. Tales of flying women in Chinese folklore, exemplified by the story of The Cowherd and the Weaver Girl, replicated in countless tales that depicts the courtship between a mortal man and a divine or magical woman suggest otherwise. In these tales, the divine woman exhibits idealized Confucian femininity and fulfills the needs of the male protagonist by providing him with marriage, children, social status, and financial affluence. This paper argues that the flying women in Chinese folklores are not a symbol of defiance but are exemplars that embodyideal Confucian femininity. These tales are instead a reflection of male rejection of gender division in patriarchal societies. The male protagonists, like the male storytellers, reject the necessity to pursue and provide for women in courtship and marriage. Though these tales show their authors’ and readers’ discontent with gender role division, they do not subvert the patriarchal social order but rather offers an escape through fantasy.

Keywords: bird goddess, folklore, gender role division, patriarchy

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Authors: Seyed Majid Alavi Shooshtari

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As a multi-layered prose piece of artistry and craftsmanship Charles de Secondat, baron de Montesquieu’s Persian Letters (1721) is a satirical work which records the experiences of two Persian noblemen, Usbek and Rica, traveling through France in the early eighteenth century. Montesquieu creates Persian Letters as a critique of the French society, a critical explanation of what was considered to be 'the Orient' in the period, and an invaluable historical document which illustrates the ways Europe and the East understood each other in the first half of the eighteenth century. However, Persian Letters is considered today, in part, an Orientalist text because of it presenting the culture of the East using stereotypical images. Although, when Montesquieu published Persian Letters, the term Orientalist was a harmless word for people who studied or took an interest in it, the ways in which this Western intellectual author exerts his critique of French social and political life through the eyes of Persian protagonists by placing the example of the Orient (the Other) at the service of an ongoing Eighteen century discourse does raise some Eastern eyebrows. The fact that Persian side of the novel is considered by some critics as a fanciful decor, and the letters sent home are seen as literary props, yet these Eastern men intelligently question the rationality of religious, state, military and cultural practices and uncover much of the absurdity, irrationality or frivolity of European life. By drawing on the insight that Montesquieu’s text problematizes the assumption that orientalism monolithically constructs the Orient as the Other, the present paper aims to examine how the innocent gaze of two Eastern travelers mirrors the ways Europe’s identity defines its-Self.

Keywords: montesquieu, persian letters, ‘the orint’, identity politics, self, the other

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Authors: Ovett Nwosimiri

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African tradition and what it entails are the content of African concepts of knowledge. The study of African concepts of knowledge is also known as African epistemology. In other words, African epistemology is a branch of African philosophy that deals with knowledge. This branch of African philosophy engages with the nature and concept of knowledge, the ways in which knowledge can be gained, the ways in which one can justify an epistemic claim or validate a knowledge claim and the limit of human knowledge, etc. The protagonists of African epistemology based their argument for a distinctive or unique African epistemology on the premise or proposition “that each race is endowed with a distinctive nature and embodies in its civilization a particular spirit”. All human beings share some certain basic values and perceptions irrespective of where you come from, and this idea actually fosters some forms of interaction between people from different nationality. Africans like other people share in some certain values, perceptions, and interaction with the rest of the world. These basic values, perceptions, and interaction that Africans share with the rest of the word prompted African people to attempt to “modernize” their societies or develop some forms of their tradition in harmony with the ethos of the contemporary world. Based on the above ideas, it would be interesting to investigate if such (African) epistemology is still unique. The advocates of African epistemology focus on the externalist notion of justification and neglect the idea that both the internalist and externalist notion of justification are needed in order to arrive at a coherent and well-founded account of epistemic justification. Thus, this paper will critically examine the claims that there is a unique African epistemology (a mode of knowing that is peculiar to Africans, and that African mode of knowing is social, monism and situated notion of knowledge), and the grounds for justifying beliefs and epistemic claims.

Keywords: internalist, externalist, knowledge, justification

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Authors: Barbara Janari

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This paper focuses on temporality in J.M. Coetzee’s first novel, Dusklands, to argue that the novel’s fractured, disjointed temporality is intricately linked to the representations of the war in Vietnam and the colonial project in South Africa. The disrupted temporalities in the novel eschew chronological plots and linear time in favour of narratives that subvert the notion of historical progress to suggest instead the coextensive, multivalent ways in which the past and present interpenetrate one another. The disruption of temporal flow in the novel is evident in its form – the novel comprises two novellas that are juxtaposed, with the first part (‘The Vietnam War’) set centuries before the second part (‘The Narrative of Jacobus Coetzee’). The juxtaposition of the two novellas suggests history’s sometimes overlapping and lateral, rather than linear, movement. The novel’s form is extended in its montage narrative structure, which works to extend its temporal range. The temporal disjunction is reinforced, firstly, by Coetzee’s textual strategies, which include the subversion and critique of realism, parody, repetition, and the narrative technique of montage, and secondly, by the novel’s thematic concerns, which focus on the ways in which American domination can be linked to the colonial quest from earlier times. The complex structure of various strands and levels of authorship slows down the narrative’s temporal flow, requiring the reader to spend a fair amount of time unraveling the various parts of the narrative and relating them to each other. The structure epitomizes reflexive referencing, in which the reader can only make sense of the narrative by going back and forth and connecting various parts of it. The narrative structure also emphasizes the underlying similarities in the brutality that marked these two distinct historical events, epitomized by the drive towards subjection and domination by the novel’s two protagonists, Eugene Dawn and Jacobus Coetzee. The links and overlapping strands between the two novellas emphasize the ways in which the historical truth of colonial discourse becomes as much a myth as the propaganda program in Vietnam.

Keywords: disjunction, juxtaposition, montage, temporality

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Authors: Kerry Mackereth

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Kimberle Crenshaw’s theory of intersectionality has become immensely influential in the fields of women’s and gender studies. However, intersectionality’s widespread use among feminist scholars and activists has been accompanied by critiques of its reliance upon subject categorization. These critiques are of particular import when connected to Wendy Brown’s characterization of identity politics as static 'wounded attachments'. Together, these critiques show how the gridlock model proposed by intersectionality’s primary metaphor, the traffic accident at the intersection, is useful for identifying discrimination but not for remembering historical injustices or imagining feminist and anti-racist resistance. Through the lens of New Zealand Maori film, focusing upon Once Were Warriors (1994) and Whale Rider (2002), this article examines how wounded histories need not be passively reproduced by contemporaneously oppressed groups. Instead, the metaphor of the traffic intersection should be complemented by the metaphor of the wound. Against Brown’s characterization of wounded attachments as negative, static identities, Gloria Anzaldua’s account of the borderland between the United States and Mexico as “una herida abierta”, an open wound, offers an alternative reading of the wound. Through Anzaldua’s and Hortense Spillers’ political thought, the wound is reconceptualized as not only a site of suffering but also as a regenerative space. The coexistence of deterioration and regeneration at the site of the wound underpins the narrative arc of both Once Were Warriors and Whale Rider. In both films, the respective child protagonists attempt to reconcile the pain of wounded histories with the imagination of cultural regeneration. The metaphor of the wound thus serves as an alternative theoretical resource for mapping experiences of oppression, one that enriches feminist theory by balancing the remembrance of historical grievance with the forging of hopeful political projects.

Keywords: gender theory, historical grievance, intersectionality, New Zealand film, postcolonialism

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Authors: Nadia Konstantina Zygouri

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This paper aims to provide a concise analysis of the symbolic nature of cinematic light portrayed in Apichatpong Weerasethakul's film Cemetery of Splendour (2015). The study explores the philosophical hypostasis of lighting mechanisms, the idea of which is based on political motives and, in addition, metaphysical theories originating from the Isan region of Thailand. In the film, the colourful hospital space and narcoleptic soldiers represent the deep and tumultuous history of the Thai nation, revealing a symbolic allegory through an incurable disease that the protagonists suffer from, addressing with this metaphor a collective political apathy. Specifically, the film follows Jen, a woman with a leg disability who takes care of Itt, an ex-soldier fallen into narcolepsy amidst a multi-coloured roomful of other comatose soldiers. The film's central theme, as well as the central setting, concerns an abandoned former school now used as a treatment clinic for military patients, each connected to a mechanism of light that can affect their dreams while sleeping. The audience later discovers from two mythological figures emerging from Thailand's ancient religious past that the hospital grounds are built over the ruins of an ancient kingdom's cemetery. The symbolic political implication is that ancient rulers have captured the soldiers’ spirits to fight their eternal battles, leaving their unconscious bodies in torpor, as similar politics of the past and present affect the nation to this day and enforce political apathy. In a contrasting tone, the colourful tubes are present to relieve the soldiers' symptoms and create better memories in their subconscious minds. As a result, the concluding argument of this hypothesis places Apichatpong's direction of cinematic light towards a philosophical and political commentary that, although derived from ancient national history, remains thoroughly contemporary.

Keywords: Apichatpong Weerasethakul, cemetery of Splendour, filmosophy, politics, aesthetics, direction of photography, light in cinema, metaphysics, visual philosophy

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Authors: Su-Lin Yu

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Coalition politics has been one of feminists’ persistent concerns. Following recent feminist discussion on new modes of affiliation across difference, she will explore how the process of female subject formation depends on alliances across different cultural locations. First, she will examine how coalition politics is reformulated across difference in contemporary feminist literature. In particular, the paper will identify the particular contexts and locations in which coalition building both enables and constrains the female subject. She will attempt to explore how contemporary feminist literature highlights the possibilities and limitations for solidarity and affiliations. To understand coalition politics in contemporary feminist works, she will engage in close readings of two texts: Rebecca Walker’s Black, White and Jewish: Memoir of a Shifting Self and Danzy Senna’s Caucasia. Both Walker and Senna have articulated the complex nodes of identity that are staged by a politics of location as they refuse to be boxed into simplistic essentialist positions. Their texts are characterized by the characters’ racial ambiguity and their social and geographical mobility of life in the contemporary United States. Their experiences of living through conflictual and contradictory relationships never fully fit the boundaries of racial categorization. Each of these texts demonstrates the limits as well as the possibilities of working with diversity among and within persons and groups, thus, laying the ground for complex alliance formation. Because each of the protagonists must negotiate a set of contradictions, they will have to constantly shift their affiliations. Rather than construct a static alliance, they describe a process of moving ‘beyond boundaries,’ an embracing of multiple locations. As self-identified third wavers, Rebecca Walker and Danzy Senna have been identified and marked with the status of ‘leader’ by the feminist establishment and by mainstream U.S. media. Their texts have captured both mass popularity and critical attention in the feminist and, often, the non-feminist literary community. By analyzing these texts, she will show how contemporary American feminist literature reveals coalition politics which is fraught with complications and unintended consequences. Taken as a whole, then, these works provide an important examination not only of coalition politics of American feminism, but also a snapshot of a central debate among feminist critique of coalition politics as a whole.

Keywords: coalition politics, contemporary women’s literature, identity, female subject

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Authors: Tamara Zappaterra

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The Learning Difficulties have an evolutionary nature. The international research has focused its analysis on the characteristics of Learning Difficulties in childhood, but we are still far from a thorough understanding of the nature of such disorders in adolescence and adulthood. Such issues become even more urgent in the university context. Spelling, meaning, and appropriate use of the specific vocabulary of the various disciplines represent an additional challenge for the dyslexic student. This paper explores the characteristics of Learning Difficulties in adulthood and the impact with the university teaching. It presents the results of an interdisciplinary project (educational, medical and engineering area) at University of Florence. The purpose of project is to design of a protocol for usability of teaching and individual study at university level. The project, after a first reconnaissance of user needs that have been reached with the participation of the very same protagonists, is at the stage of guidelines drafting for inclusion and education, to be used by teachers, students and administrative staff. The methodologies used are a questionnaire built on purpose and a series of focus groups with users. For collecting data during the focus groups it was decided to use a method typical of the Quality Function Deployment, a tool originally used for quality management, whose versatility makes it easy to use in a number of different context. The paper presents furthermore the findings of the project, the most significant elements of the guidelines for teaching, i.e. the section for teachers, whose aim is to implement a Learning Difficulties-friendly teaching, even at the university level, in compliance with italian Law 170/2010. The Guidelines for the didactic and inclusion of Learning Difficulties students of the University of Florence are articulated around a global and systemic plan of action, meant to accompany and protect the students during their study career, even before enrolling at the University, with different declination: the logistical, relational, educational, and didactic levels have been considered. These guidelines in Italy received the endorsement of the CNUDD. It is a systemic intervention plan for Learning Difficulties students, which roused and keeps rousing the interest of all the university system, with a radical consideration on academic teaching. Since while we try to provide the best Learning Difficulties-friendly didactic in compliance with the rules, no one can be exempted from a wider consideration on the nature and the quality of university teaching offered to all students.

Keywords: didactic tools, learning difficulties, special and inclusive education, university teaching

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Authors: Daniel J. Patricio Jiménez

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Digital reality demands new ways of thinking, flexibility in learning, acquisition of new competencies, visualizing reality under new approaches, generating open spaces, understanding dimensions in continuous change, etc. We need inclusive growth, where colors are not lacking, where lights do not give a distorted reality, where science is not half-truth. In carrying out this study, the documentary or bibliographic collection has been taken into account, providing a reflective and analytical analysis of current reality. In this context, deductive and inductive methods have been used on different multidisciplinary information sources. Women today and tomorrow are a strategic element in science and arts, which, under the umbrella of sustainability, implies ‘meeting current needs without detriment to future generations’. We must build new scenarios, which qualify ‘the feminine and the masculine’ as an inseparable whole, encouraging cooperative behavior; nothing is exclusive or excluding, and that is where true respect for diversity must be based. We are all part of an ecosystem, which we will make better as long as there is a real balance in terms of gender. It is the time of ‘the lifting of the veil’, in other words, it is the time to discover the pseudonyms, the women who painted, wrote, investigated, recorded advances, etc. However, the current reality demands much more; we must remove doors where they are not needed. Mass processing of data, big data, needs to incorporate algorithms under the perspective of ‘the feminine’. However, most STEM students (science, technology, engineering, and math) are men. Our way of doing science is biased, focused on honors and short-term results to the detriment of sustainability. Historically, the canons of beauty, the way of looking, of perceiving, of feeling, depended on the circumstances and interests of each moment, and women had no voice in this. Parallel to science, there is an under-representation of women in the arts, but not so much in the universities, but when we look at galleries, museums, art dealers, etc., colours impoverish the gaze and once again highlight the gender gap and the silence of the feminine. Art registers sensations by divining the future, science will turn them into reality. The uniqueness of the so-called new normality requires women to be protagonists both in new forms of emotion and thought, and in the experimentation and development of new models. This will result in women playing a decisive role in the so-called "5.0 society" or, in other words, in a more sustainable, more humane world.

Keywords: art, digitalization, gender, science

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Authors: Zineb Emrane

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This abstract addresses the issue of radicalization of young people in a context with background of radicalization, in North of Morocco, 5 terrorist of Madrid's Attacts on 11th March, were coming from this context. It were developed a study pilot that describing young people perception about the main causes that lead and motivate for radicalization. Whenever we talk about this topic, we obtain information from studies and investigations by specialists in field, but we don’t give voice to the protagonists who in many cases are victims, specifically, young people at social risk because of social factors. Extremist radicalization is an expanding phenomenon, that affect young people, in north of Morocco. They live in a context with radical background and at risk of social exclusion, their social, economic and familiar needs make them vulnerable. The extremist groups take advantage of this vulnerability to involve them in a process of radicalization, offering them an alternative environment where they can found all they are looking for. This study pilot approaches the main causes that lead and motivates young people to become radicals, analyzing their context with emphasis on influencing factors, and bearing in mind the analysis of young people about how the radical background affect them and their opinion this phenomenon. The pilot study was carried out through the following actions: - Group dynamics with young people to analyze the process of violent radicalization of young people. -A participatory workshop with members of organizations that work directly with young people at risk of radicalization. -Interviews with institutional managers -Participant observation. The implementation of actions has led to the conclusion that young people define violent radicalization as a sequential process, depending on the stage, it can be deconstructed. Young people recognize that they stop feeling belonging to their family, school and neighborhood when they see behavior contrary to what they consider good and evil. The emotional rupture and the search for references outside their circle, push them to sympathize with groups that have an extremist ideology and that offer them what they need. The radicalization is a process with different stages, the main causes and the factors which lead young people to use extremist violence are related their low level of belonging feeling to their context, and lack of critical thinking about important issues. The young people are in a vulnerable stage, searching their identity, a space in which they can be accepted, and when they don't find it they are easily manipulated and susceptible to being attracted by extremist groups.

Keywords: exclusion, radicalization, vulnerability, youth

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Authors: Brindusa Grigoriu

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Inscribing itself in the field of the history of multilingual communities with a focus on the evolution of language didactics, our paper aims at providing a pragmatic-interactional approach on a corpus proposing to scholars of the international scientific community a relevant text of early modern European literature: the first romance in French, The Conte of Flore and Blanchefleur by Robert d’Orbigny (1150). The multicultural context described by the romance is one in which an Arab-speaking prince, Floire, and his Francophone protégée, Blanchefleur, learn Latin together at the court of Spain and become fluent enough to turn it into the language of their love. This learning process is made up of interactional patterns of affective relevance, in which the proficiency of the protagonists in the domain of emotive acts becomes a matter of linguistic and pragmatic emulation. From five to ten years old, the pupils are efficiently stimulated by their teacher of Latin, Gaidon – a Moorish scholar of the royal entourage – to cultivate their competencies of oral expression and reading comprehension (of Antiquity classics), while enjoying an ever greater freedom of written expression, including the composition of love poems in this second language of culture and emotional education. Another relevant parameter of the educational process at court is that Latin shares its prominent role as a language of culture with French, whose exemplary learner is the (Moorish) queen herself. Indeed, the adult 'First lady' strives to become a pupil benefitting from lifelong learning provided by a fortuitous slave-teacher with little training, her anonymous chambermaid and Blanchefleur’s mother, who, despite her status of a war trophy, enjoys her Majesty’s confidence as a cultural agent of change in linguistic and theological fields. Thus, the two foreign languages taught at Spains’s court, Latin and French – as opposed to Arabic -, suggest a spiritual authority allowing the mutual enrichment of intercultural pioneers of cross-linguistic communication, in the aftermath of religious wars. Durably, and significantly – if not everlastingly – the language of physical violence rooted in intra-cultural solipsism is replaced by two Romance languages which seem to embody, together and yet distinctly, the parlance of peace-making.

Keywords: multilingualism, history of European language learning, French and Latin learners, multicultural context of medieval romance

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Authors: Wisdom Robert Duruji, Moses Kanayochukwu Ifoh, Efeoghene Edward Esiemunobo

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This study examines the impact of natural and artificial disasters, lackadaisical and semantic approach in risk management, and mitigation implication for sustainable development goals in Nigeria, from 2009 to 2022. The study utilizes a range of research methods to achieve its objectives. These include literature review, website knowledge, Google search, news media information, academic journals, field-work and on-site observations. These diverse methods allow for a comprehensive analysis on the impact and the implications being study. The study finds that paradigm shift from remediating seismic, flooding, environmental pollution and degradation natural disasters by Nigeria Emergency Management Agency (NEMA), to political and charity organization; has plunged risk reduction strategies to embezzling opportunities. However, this lackadaisical and semantic approach in natural disaster mitigation, invariably replicates artificial disasters in Nigeria through: Boko Haram terrorist organization, Fulani herdsmen and farmers conflicts, political violence, kidnapping for ransom, ethnic conflicts, Religious dichotomy, insurgency, secession protagonists, unknown-gun-men, and banditry. This study also, finds that some Africans still engage in self-imposed slavery through human trafficking, by nefariously stow-away to Europe; through Libya, Sahara desert and Mediterranean sea; in search for job opportunities, due to ineptitude in governance by their leaders; a perilous journey that enhanced artificial disasters in Nigeria. That artificial disaster fatality in Nigeria increased from about 5,655 in 2009 to 114,318 in 2018; and to 157,643 in 2022. However, financial and material loss of about $9.29 billion was incurred in Nigeria due to natural disaster, while about $70.59 billion was accrued due to artificial disaster; from 2009 to 2018. Although disaster risk mitigation and politics can synergistically support sustainable development goals; however, they are different entities, and need for distinct separations in Nigeria, as in reality and perception. This study concluded that referendum should be conducted in Nigeria, to ascertain its current status as a nation. Therefore it is recommended that Nigerian governments should refine its naturally endowed crude oil locally; to end fuel subsidy scam, corruption and poverty in Nigeria!

Keywords: corruption, crude oil, environmental risk analysis, Nigeria, referendum, terrorism

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Authors: Marta Kaprzyk

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The cinema of Alejandro González Iñárritu hasn’t been subjected to a lot of detailed analysis yet, what makes it an exceptionally interesting research material. The purpose of this presentation is to discuss the significance of urban space in three films of this Mexican director, that forms Death Trilogy: ‘Amores Perros’ (2000), ‘21 Grams’ (2003) and ‘Babel’ (2006). The fact that in the aforementioned movies the urban space itself becomes an additional protagonist with its own identity, psychology and the ability to transform and affect other characters, in itself warrants for independent research and analysis. Independently, such mode of presenting urban space has another function; it enables the director to complement the rest of characters. The basis for methodology of this description of cinematographic space is to treat its visual layer as a point of departure for a detailed analysis. At the same time, the analysis itself will be supported by recognised academic theories concerning special issues, which are transformed here into essential tools necessary to describe the world (mise-en-scène) created by González Iñárritu. In ‘Amores perros’ the Mexico City serves as a scenery – a place full of contradictions- in the movie depicted as a modern conglomerate and an urban jungle, as well as a labyrinth of poverty and violence. In this work stylistic tropes can be found in an intertextual dialogue of the director with photographies of Nan Goldin and Mary Ellen Mark. The story recounted in ‘21 Grams’, the most tragic piece in the trilogy, is characterised by almost hyperrealistic sadism. It takes place in Memphis, which on the screen turns into an impersonal formation full of heterotopias described by Michel Foucault and non-places, as defined by Marc Augé in his essay. By contrast, the main urban space in ‘Babel’ is Tokio, which seems to perfectly correspond with the image of places discussed by Juhani Pallasmaa in his works concerning the reception of the architecture by ‘pathological senses’ in the modern (or, even more adequately, postmodern) world. It’s portrayed as a city full of buildings that look so surreal, that they seem to be completely unsuitable for the humans to move between them. Ultimately, the aim of this paper is to demonstrate the coherence of the manner in which González Iñárritu designs urban spaces in his Death Trilogy. In particular, the author attempts to examine the imperative role of the cities that form three specific microcosms in which the protagonists of the Mexican director live their overwhelming tragedies.

Keywords: cinematographic space, Death Trilogy, film Studies, González Iñárritu Alejandro, urban space

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